Note: This interview is an edited translation of a conversation between my mother and I about her knowledge and expertise in Kalocsa embroidery. The original discussion took place in Hungarian.
1. Rita: What inspired you to create an entire collection of Kalocsa embroidery to decorate our home all those years ago?
Mother: It’s a tradition, much like folk songs that are passed down orally – handicrafts move from hand to hand. I learned the techniques of this embroidery, along with many other folk handicrafts, from my colleagues at work. When we needed textiles for our new home but couldn’t afford to buy them from a store, I decided to make them myself.
2. Rita: What do the vibrant colours in this type of embroidery symbolise, and have these meanings changed over time?
Mother: It’s mostly related to age. The brighter the colours, the younger the wearer or maker. The darker the colours, the older. It’s not a sad thing; it just means that as you age, you gain wisdom. Just like adding more layers of colour to a painting, it creates more depth. It’s a beautiful idea. Older women, with their life experience and many layers, have more depth. It’s a life philosophy. Colour also represent emotions – red symbolises deep love and affection, for instance. Blue, dark green, and purple represent grief. There are all kind of stories and emotions woven into these textiles. It’s a beautiful tradition.
3. Rita: What are some of the most common motifs used in Kalocsa embroidery, and what do they represent?
Mother: Life, and nature – primarily the flowers of the fields. For example, the rose symbolises womanhood and is often central motif from which everything else radiates. Chilli peppers represent men, squill stands for new beginnings, lilacs symbolise the joy of youth and forget-me-nots represent deep respect and tribute. Each motif symbolises and emotion or concept, and we often use these designs to tell stories that words fail to express.
4. Rita: Is there a specific layout or structure that defines the embroidery patterns? How is the design typically arranged?
Mother: It’s a matter of personal taste. Some designs focus on a single motif, while others are more crowded. It’s almost like the maker’s fingerprint – you add your own signature which makes the embroidery diverse. While there are certain rules and structure, you have the creative freedom to make your own version. Continuity lies in diversity – you wouldn’t want to create the same replica repeatedly, would you?
5. Rita: Are there any myths, stories, or traditions associated with Kalocsa embroidey?
Mother: What I know is that in folk costumes, these designs were used for worship and festivals. They often mirrored architectural motifs, like those used to decorate walls or front gates. Over time, these designs migrated to other crafts, such as pottery and plates for instance.
6. Rita: Have the motifs and patterns evolved over the years? If so, have they been influenced by modern tastes or trends?
Mother: Yes, quite a lot. We can trace the origins to before the Industrial Revolution. Back then, women decorated their clothing with patterns that were all white on rough canvas using a technique called hole-punch embroidery. After the Industrial Revolution, materials changed to fine cotton and linen, threads became colourful and the technique evolved into flat stitching. Mechanisation led to mass production, making embroidery a commodity for the wealthy. Later, American (she meant US) trends like denim and global brands caused it to decline. It took time and expertise to create these pieces. Common people couldn’t afford them anymore, opting for cheaper, fast-fashion items like jeans and polyester garments. Today, very few women keep this tradition alive because people prefer global brands, often cheaper alternatives.
7. Rita: Do you think this type of embroidery is strictly traditional, or can I experiment with it in new ways for my MA studies?
Mother: These designs are rooted in folk tradition. There are some rules you need to follow if you want to call it Kalocsa embroidery; otherwise, it won’t be authentic. At the same time, it’s like an evolving archive for future generations to understand what came before. Each generation adds personal touches. Much has changes since I made my version, and I’d love to see how you interpret and experience the world through your work.
